Episode Twenty-Three: Writing with Movement

January 13, 2010 by cindy  
Filed under episodes

Episode23_photoEver wonder what the difference is between a Director of Photography and a Cinematographer? The answer to that has more to do with film credits than the actual job description. Get ready for a tech geek out as we discuss the ins and outs of the DPs job during pre-production, which includes tasks such as hiring a grip and electric crew and choosing the kind of camera your film will be shot on.

itunes_button_sm

Episode Twenty-Three Guests

Matthew Espenshade- Cinematographer

Matt_EspenshadeMatthew Espenshade was born in Pennsylvania and raised in Arizona, endowed with a passion and zeal for filmmaking at a young age Espenshade became an autodidact of the cinema, studying and practicing film method with whatever tools he could find.  He moved to Southern California where he attended and graduated from Columbia College Hollywood where he discovered his desired focus of cinematography.  Since, he has exercised his propensity for the world of independent cinema by serving as the cinematographer on two feature length films and several shorts, commercials, and music videos whilst continuing to diligently immerse himself in both the technical and artistic aspects related to cinematography.

Nick Oberlander- Cinematographer

Nick_Photo

Nick was born and raised in Bismarck, North Dakota. He graduated from the University of Nebraska-Lincoln with a concentration in Film and New Media and immediately moved to Los Angeles where he’s been working as a Director of Photography, grip, electric, etc. He loves cameras and lights and pointing them at things.

For more information about Nick or to contact him visit his website at www.nickoberlander.com

Jenna Edwards- Resident Producing Advisor

Jenna_Resized

For more information about Jenna see the About page or click here.


Comments

3 Comments on "Episode Twenty-Three: Writing with Movement"

  1. Dan McClure on Tue, 19th Jan 2010 3:36 pm 

    Next to writing or acting in a film I have always felt that being a cinematographer or being part of that crew would be interesting. It was what caught my attention most when the “April Showers” movie was in production. I remember the debate about which is best for photographing, film or digital. Matthew seems to prefer film and Nick appears to lean towards digital. I know Andrew Robinson, “April Showers”, writer/director was sold on digital. It was quite a digital camera they used for that movie. I would really like to learn more about the technical ins & outs of these processes. Cindy and Jenna caught my attention when they talked about the pre-production decisions regarding type of camera to be used while considering budget and aesthetics. Quite a tough but important decision to make for the Indie Film maker on a limited budget. Very essential to have quality people involved in the photography as well as production side. It really takes an efficient and talented team to make this work.

  2. FILM METHOD PODCAST « on Thu, 10th Feb 2011 2:08 pm 

    [...] Episode Twenty-Three: Writing with Movement [...]

  3. Craig Tarry on Tue, 20th Dec 2011 9:30 am 

    Director of Photography David Mullen, ASC, (The Astronaut Farmer, Jennifer’s Body) had this to say about the qualities of a good 1st AC:
    “Good 1st AC’s can be a bit temperamental sometimes. It’s hard to describe without seeming like an insult, but the good ones are somewhat anal-retentive, it’s such a demanding job that requires precision yet speed. They can be a bit like racehorses sometimes, the good ones. The really mellow ones are easier to work with of course, but I always get nervous when the 1st AC is too relaxed…”

Tell us what you're thinking...
and oh, if you want a pic to show with your comment, go get a gravatar!





Soonami Productions